Language: Tamil
Vignesh Shivan's Kaathuvaakula Rendu Kaadhal, starring Vijay Sethupathi, Nayanthara, and Samantha, thinks it is making a strong case for polyamory.
We like day and night. We like biryani and curd rice. We like Ajith and Vijay. As humans, we enjoy and thrive in plurality. When that is the case, why is polyamoury taboo, and why is monogamy the rule?
However, the case the film actually makes is for patriarchy and sexism. Sure, one can have multiple partners if everyone involved knows about it, and agrees to be part of it. But in our society, and by extension Kaathuvaakula Rendu Kaadhal, this is just reserved for the man.
It's not that the film does not realise this. It tries to make feeble arguments to make it politically correct. But you know where its heart lies, and what it is trying to normalise. The film tries so hard, so hard, to make us empathise with Rambo (Vijay Sethupathi) — to gaslight us into thinking he is a 'good' guy, that it is okay for him to love and be with both Kanmani (Nayanthara) and Khatija (Samantha).
But I have a question: Why is this 'offer' never made to the women? Would Rambo have been so 'okay' if Khatija had said that she wants to be with both Rambo and her other toxic boyfriend Mobi? Would we have accepted that film as a 'fun, family entertainer' as well?
Kaathukavaakula Rendu Kaadhal was promoted as an 'experimental' film. After watching, I am wondering if the experiment was to make us go back to the '80s.
Kollywood has a long history with polygamy; it is not as new as Shivan would want us to believe. Rettai Vaal Kuruvi, Veera, Sathileelavathi, Athisaya Piravi — the list is quite long. Kaathuvaakula Rendu Kaadhal wants us to believe it is progressive with just a small change in the climax. Sure, and February has 30 days.
The film has a few nicer moments. The romance even works independently, but they get lost amid the problematic chaff. Kaathuvaakula Rendu Kaadhal ends up being a cautionary tale for women. It normalises, glorifies, and romanticises every patriarchal trope that women are expected to put up with. It shows how even if the man does the bare minimum — help someone out from a tight spot, and be a decent human being — he will be praised for being an saint. However, women need to work very hard for that title. They have to forget all the lies, emotional manipulation, and complete avoidance of any sort of responsibility. Why? Because he is a 'good guy' — come on, he does not hit you, right! What else do you want?
It shows how society pit women against women to ensure the man continues to benefit from the patriarchal privilege. It keeps telling that the man can do nothing wrong. If it happens, it is probably the other woman's fault — that he got fooled. Even if the women do get together, and figure out the man's scheming, manipulative ways, they should and will cling on to him. They will be given umpteen number of reasons to do so — pure love, family, even some extraordinary ones like curses, bad luck etc. They can and never should put their own wishes on the top, because what good woman does that? That can only happen when the woman has solved all of the hero's problems. Most importantly, at no point should they think that they deserve better. As a society, we have conditioned women successfully to believe they should take the absolute minimum without grievances.
But of course, most men who read this review do not really care about all this. So let me answer some of the burning questions they have. Yes, Nayanthara looks gorgeous. Samantha looks sexy. The leading trio truly give really effective performances, and the film looks good. And no, there is no lesbian relationship. Though I would have genuinely paid to watch a love story between Kanmani and Khatija. We would have probably gotten a much better film.
The number three is often used in Kaathuvaakula Rendu Kaadhal. It is a triangular love story. There is a lot of talk about a three word phrase: I love you. But I wish I could tell Khatija and Kanmani a different three-word phrases — you deserve better.
Rating: **
Ashameera Aiyappan is a film journalist who writes about Indian cinema with a focus on South Indian films.
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